This week we pull back the curtain on a man who has spent his career wearing a multitude of hats throughout his decades in show business. We sat down with The Nederlander Organization’s Director of Theatre Management, Thom Clay!

What is your current job and what does it entail? What do you enjoy most and least about your job?

Tom Clay: My current position is Director of Theatre Management. I work with a team in the Operations Department of the company and we are responsible for the operation and management of nine Broadway theatres. Part of my duties include working with the managers in each theatre to ensure that all of their weekly financial paperwork is in order. Each week we “settle” the box office receipts and expenses with each production so there is a large amount of detailed documentation required. Every theatre employee is paid weekly so in addition to accurate paychecks, union benefit reports must also be prepared and submitted.

Other responsibilities that are under my supervision are the preparation of emergency plans for each of the theatres, staff training in safety and customer service, and the review of employee performance. I also work closely with the production in each venue, especially when new productions are about to begin performances. The “taking in” of production involves a large number of people to execute it and it often happens in a fixed time frame so there is little room for error.

One final area that I am involved with is small renovation and restoration projects. Several of our theatres are between 80 and 100 years old, so they require constant maintenance and upgrading. Today’s audiences have high expectations when attending a Broadway show, so we work to provide a magical experience from the moment they arrive at one of our theatres.

There are many things I enjoy about my position, but the thing I think I enjoy the most is being able to work in a creative and constantly changing environment. While Broadway is a business, the people that make theatre are wonderful, interesting individuals who I get to see make magic every day. With so many varied productions in our theatres, I am fortunate to be part of an always evolving experience.

As for what I enjoy least, I don’t think there is any part of the job that isn’t enjoyable in one way or another. Everyone here has one goal and that is to put on the best possible Broadway experience for our patrons and producers.

Can you describe what the Nederlander Organization does?

TC: The Nederlander Organization is one of the largest family-owned entertainment enterprises in the world. While the primary focus is on owning and operating nine Broadway theatres, the company also owns and operates venues in other cities in the U.S. and U.K. Additionally, the company is leading producer of many of Broadway’s hit shows.

Are there any interesting goals or projects with which you are currently involved?

TC: As the spring is a busy time across all of Broadway with many new shows opening, there is one project that I am involved with that is unique and exciting. Later this year the 108-year-old Palace Theatre will be restored as part of a massive development project happening on the corner of Broadway and West 47thStreet. In partnership with real estate developers, the theatre will be restored to its former glory along with the addition of new dressing rooms, lobbies and stage equipment. As part of the construction project, the theatre will be raised 35 feet from its current position and a new entrance created on West 47thStreet. A new hotel will be constructed on top of the theatre and retail space created below. The entire project is estimated to take three years.

Can you describe your career path and what led you to this job?

TC: The start of my career was like many, I believe. I was attracted to the magic of the theatre in middle school and thought about a career as an actor. I was in the plays and musicals while in high school and then pursued a college degree in theatre. While in college I began to see that the life of an actor could be difficult and challenging so I began to question if that was something I was ready to commit to. Through taking a variety of theatre courses, from directing to design, I realized that I could still work in the theatre without being an actor. I began to stage manage for the school productions and found it to be even more fulfilling that any of the acting roles I had. After completing my undergraduate degree, I was fortunate to be offered a stage management position at the local children’s theatre. I would also work in the summer as a stage manager for local musicals which were both great opportunities to learn about the craft of theatre outside of an educational setting.

After working as stage manager for about five years, I became interested in opportunities beyond stage management and was attracted to the work that producers were doing. I wanted to be heading in that direction and decided to get an advanced degree in theatre management to grow my skill set. I received my Master’s Degree from Columbia University in 1996 and began working in the management offices of the Really Useful Company. After 3 amazing years working in that office I took a job as the assistant company manager on the national tour of Riverdance. I remained with them for 3 years and for the next two decades worked as Broadway company manager as well as a tour manager for Radio City Music Hall.

After a fulfilling career as a Broadway company manager, I began to look for the next theatre opportunity. Having worked in many Nederlander Theaters I was well aware of the company and its importance to the theatre in this country. I was in contact with several colleagues within the organization and when my current position became available I accepted immediately. It’s been great to continue to use my skill sets and contribute to this wonderful organization.

Previously, you were a company manager and a stage manager — can you describe what each of these do? What are some of the things you liked about each of these lines of work?

TC: Both the stage manager and company manager fill two important roles on a production and work very closely together.

The stage manager is responsible for the actual running of the performance. In rehearsals, they work closely with the director to rehearse the production and gather all of the information that will be needed to execute a performance. During performances, the stage manager ensures the actors, crew and staff report on time and maintain their performances as directed. While the show is running, the stage manager directs the crew and scenic elements through the calling of “cues.” Basically, the stage manager is in charge of the backstage area and to make sure the performance happens as planned from beginning to end.

The company manager’s job differs in that they do not work backstage in the same function as the stage manager but functions as representative of the producer. The company manager usually oversees the day-to-day business operation of the production from generating the payroll and paying bills to assisting with ticketing and marketing initiatives. Company managers often create contracts for the cast, crew and creative team, and assist in executing the contract terms. As there are over a dozen unions on Broadway, the company manager must understand each one’s rules and carry them out accordingly. The company manager works closely with the theatre’s box office to record ticket sales and box office revenue. These are just some of the major areas the company manager is responsible for and those duties can change depending on the needs of the production.

As you can see from the above, both positions have different responsibilities but each manager works closely to keep all areas of the production running smoothly. As a stage manager, I always enjoyed the rehearsal process to see how the show gets created before an audience sees it. As a company manager, I really enjoyed seeing all of the elements from the “big picture” perspective and how they all come together to create a show.

What have been some of your most memorable work experiences?

TC: This is a hard one! I have been so fortunate to work on some amazing productions and alongside some remarkably talented individuals. I have enjoyed working with great directors like Michael Grandage and Kathleen Marshall as well as talented actors Matthew Broderick, Daniel Radcliffe and Janet McTeer. Because it was unique in so many ways: I was asked to company manage a concert of Broadway music held at the White House in 2010. As part of a series on Public Television, I assisted in organizing some of Broadway’s top talent to perform for The President and Mrs. Obama in the East Room. That one is hard to top.

What kind of training/degrees do you have and which of these would you recommend for a young person wanting to enter this business?

TC: I have both a Bachelor of Fine Arts in Theatre and a Master’s Degree in Theatre Management. I think each person has a different path to a theatre career, so a university degree may not be for everyone. I wanted the university training structure which also led to connections within the commercial theatre, but many of my colleagues have degrees in other fields. The one thing I can recommend for someone looking for a career in this business is experience. That is often more important than a degree. Learning how theatre works, what the various roles – on and off stage – are, and who the current players in the business are are all key to success. Immerse yourself in theatre. Observe and learn from others. See as much as you can and read about theatre in New York and around the world. Working as an intern or volunteering as an usher can be very beneficial to experiencing how theatre professionals work day in and day out. This will prove to be an invaluable asset.

What kind of advice would you give to someone wanting to enter the commercial theatre business?

TC: To echo the above, learn as much as you can about all aspects of the business. Understand how directors and designers work and interact. Know how advertising and marketing agencies operate and sell shows in the digital market place. Learn about budgeting and unions as in the end, everything comes down to money. Read about the latest playwrights as they are the ones providing the new productions on the horizon. Hone a critical eye and form your own opinion about what makes good theatre. Love the art and artists, but always remember that at the end of the day, it’s a business.

We talked with Flody Suarez, who is currently bringing The Cher Showto broadway. We wanted to hear about his extensive work in the entertainment industry across TV, film, and the stage as well as the particulars of bringing iconic songs into a whole new setting.

How were you first introduced to producing?

Flody Suarez: I was the V.P. of Advertising for a small film company releasing art house films, and through that experience I got to work with a lot of young, scrappy producers making passion projects. It was an interesting learning experience and it taught me a lot about the budgeting and marketing process. From there, I went into TV at NBC and was able to learn from some pretty amazing executives and producers. Warren Littlefield was the President of NBC and he is a role model in nurturing and supporting producers. I was lucky enough to work on projects with Marcy Carsey, who set the bar for helping comedy writers and comedians navigate the network process to get their vision on air, and John Wells, who is fearless and brilliant at pushing a drama to be intelligent and provocative in a way that engages audiences. I am kind of a sponge and like to watch and study what makes other people successful. I was lucky to have a front row seat to some really special people.

You’ve had plenty of experience with both theatrical producing and producing for TV and film. Can you speak about some of the major differences and similarities between them?

FS: I have a lot of television experience, having worked in comedy, drama, long form, and reality programming, but Broadway is something new to me. The drive for me to try theater was mainly project specific. I had these two ideas that really could only live on stage, so I moved to NY and started to try to learn about this process, which is similar to TV in that it is ultimately about finding great writers and nurturing their process. It is also wildly different from TV in the way shows are built, both creatively and structurally. I was lucky enough to meet Rick Elice, who is writing the The Cher Showand Joe Dipietro, who is writing What’s New Pussycat, The Tom Jones Musical – they are both brilliant and I have loved watching them shape these very different shows. The process is much slower than television and it is a much more intimate process in that there are no studio or network notes. The process is really between producers and their creative team.

You have an impressive partnership with Jeffrey Seller. How was this partnership formed? What was the process of creating Seller Suarez Productions?

FS: When I came to New York it was with the intention of finding a producer to bring aboard The Cher Showto help me navigate this world. I met with a lot of people and was really stunned at what a small and interconnected business this is. People are passionate and professional and really opened their doors to me – this is a special community and I have been blown away by how kind people have been. I was lucky enough to attend a workshop of Hamiltonand was a little stunned at the confident way it was presented. Every aspect of it seemed to have been meticulously planned. I spent a great deal of time watching Jeffrey while watching the show. Like Marcy Carsey, John Wells, and Warren Littlefield, Jeffrey is someone at the top of his game that I can watch and learn from. We started to do a little TV as well, so there is a nice flow of knowledge between us. We have Rise, a new drama from Jason Katims, airing on NBC this March. It is a book Jeffrey loved about a high school drama teacher and really feels right as our first TV show.

Congratulations on your new project, The Cher Show. What has it been like developing a bio-musical about such an iconic artist?

FS: The Cher Showis something that has been in my head for over a decade and I finally had to just pack up and move to New York to dive into the process. Cher has had an incredible career and her music has spoken to audiences for over five decades. It is a powerful story about believing in yourself and never letting someone else define your success – her iconic status creates a ton of opportunities to tap into sounds, images and moments that have a personal connection to the audience.

You have had enormous success in your producing career. Do you have any advice to young professionals who are just getting started?

FS: Every job is a learning experience. Watch everyone around you. See what they do that works and what they do that doesn’t work. Realize that they all have hopes and dreams and are doing a job. They are trying to get ahead just like you. Make friends, help people along the way. It is a small business and those people will be in your life for a long time. Be nice and be honest. It will pay off. Pursue things you are passionate about and surround yourself with people you respect. Know that failure is part of the process. Keep moving forward. Don’t let anyone discourage you. If you believe in something find another way. You will get one hundred “no”s for every “yes”.

Welcome to the start of a CTI blog. If you’re here on the CTI website, I’m guessing Broadway is a passion for you and you’re interested in learning more about how the business of Broadway works from the inside. It’s a business that is both thrilling and frustrating, a life-changing experience and enough to drive you crazy.

Over the past 37 years at CTI we teach the teachable part of Broadway producing. Using what they’ve learned here, dozens of CTI alums have gone on to produce some of Broadway’s great hits. Our courses are all taught by working Broadway professionals – from producers and general managers to ad agency executives and attorneys. Our networking opportunities will help connect you to these pros and to others who are like you – excited to learn more about the business of Broadway.
This blog will be a kind of supplement to the CTI courses that you can enjoy whether or not you take the courses themselves. We’ll be talking about best practices, the difficult issues that arise when you produce a show, emerging trends, and how-to resources.

I’ll write some of them, we’ll do some interviews with important players, and go into some nuts-and-bolts ideas too. Along the way, we’ll define some terms to give you the working vocabulary you need. I hope you’ll join us both here and in person at CTI’s courses. You couldn’t pick a more exciting field.

MIKE ISAACSON

New York, NY – January 12, 2017 – Tony Award®-winning Broadway producer Mike Isaacson will be presented The Commercial Theater Institute’s Robert Whitehead Award for “outstanding achievement in commercial theatre producing” at a reception at Sardi’s on Tuesday, March 14, 2017.

The award is inspired by the five-decade-long career of Tony Award-winning Broadway producer Robert Whitehead, who died in 2002. CTI is the nation’s only formal program that professionally trains commercial theatre producers. The award honors a graduate of CTI for outstanding achievement in commercial theatre producing. CTI presented the first Robert Whitehead Award in 1993 to Benjamin Mordecai and Susan Quint Gallin.

“What I love about Mike is that he’s very brave in his producing decisions but deeply concerned about the people who he works with and the people who work for him. As both a presenter and producer he’s created organizations filled with professionals who love what they do and love him for leading them. He’s just what every producer should aspire to,” said Tom Viertel, Executive Director of CTI.

“In the tradition of the legendary producer, Robert Whitehead, for whom this award is named, Mike Isaacson is a passionate and prolific producer,” said Victoria Bailey, Executive Director of Theatre Development Fund. “From St. Louis to Broadway, Mike’s list of producing credits include some of the most popular shows in recent memory.”

“Mike Isaacson is the ideal recipient of the Robert Whitehead Award because he displays an unwavering passion and commitment to every project. He truly puts his heart on Broadway,” said Charlotte St. Martin, President of the Broadway League. “Combining his talents as both a producer and a presenter, he has consistently enriched the industry by bringing important, innovative and fun work to the stage.”

Since 2000, Mike Isaacson co-headed Fox Theatricals with Kristin Caskey and has produced more than 21 Broadway musicals and plays, national tours, off-Broadway plays, and London productions. In June of 2015, he received the Tony® Award for Best Musical for Fun Home by Lisa Kron and Jeanine Tesori based on the graphic novel by Alison Bechdel. Fun Home won five 2015 Tony® Awards and was also a finalist for the 2014 Pulitzer Prize for Drama. It also received The Obie, The New York Drama Critics Award and The Outer Critics Circle Award for Best Musical. A national tour opened at Cleveland’s Playhouse Square in October of this year and will tour the U.S. throughout 2017. Other producing highlights include The Humans (2016 Tony Award, Best Play); Bring It On The Musical (2013 Tony® nomination for Best Musical); Red(2010 Tony® Award, Best Play); Legally Blonde the Musical (2011 Olivier Award, Best Musical); Thoroughly Modern Millie (2002 Tony® Award, Best Musical); You’re a Good Man, Charlie Brown; If/Then by Tom Kitt and Brian Yorkey and starring Idina Menzel; The Seagull starring Kristin Scott Thomas; Caroline, or Change by Tony Kushner and Jeanine Tesori; One Flew Over the Cuckoo’s Nest starring Gary Sinise, and Death of a Salesman (1999 Tony® Award); Traces (Off-Broadway and national tour); Grace, starring Paul Rudd and Michael Shannon. For the Independent Presenters Network, he served as producer for the Broadway productions of Spamalot (2005 Tony® Award, Best Musical), Ragtime (revival) and The Color Purple. With his IPN colleagues Tom Gabbard and John Breckenridge, he also produced and supervised the revised national tour of 9 to 5 The Musical, which played throughout the U.S. and the U.K. All told, his productions have received more than 96 Tony® Award Nominations, and 29 Tony® Awards.

Mike Isaacson is also the third Executive Producer in The Muny’s 99 year history. He has produced 35 shows there, and The Muny will celebrate 100 years in its 2018 season.

For 14 years, Isaacson supervised the U.S. Bank Broadway Series, bringing more than 100 Broadway productions to St. Louis’s Fabulous Fox theatre. In 2010, he received the Broadway League’s Samuel J. L’Hommedieu Award for Outstanding Achievement in Presenter Management. Isaacson has also served on the Board of Governors, the Executive Committee and the Governance Committee of The Broadway League. He was most recently honored for “Excellence in the Arts” by the Arts and Education Council in St Louis.

A joint project of The Broadway League and Theatre Development Fund, CTI was founded in 1981 by the late Frederic B. Vogel. The current executive director, Tom Viertel took on leadership of the program in 2013.

STACEY MINDICH

New York, NY – December 15, 2015 – Tony Award®-winning Broadway producer Stacey Mindich will be presented The Commercial Theater Institute’s Robert Whitehead Award for “outstanding achievement in commercial theatre producing” at a reception at Sardi’s on Tuesday, March 15, 2016.

The award is inspired by the five-decade-long career of Tony Award-winning Broadway producer Robert Whitehead, who died in 2002. CTI is the nation’s only formal program that professionally trains commercial theatre producers. The award honors a graduate of CTI for outstanding achievement in commercial theatre producing. CTI presented the first Robert Whitehead Award in 1993 to Benjamin Mordecai and Susan Quint Gallin.

Stacey Mindich is a Tony Award-winning producer and was recently named one of Variety’s Entertainment Elite. Noteworthy productions include the Tony Award-winning Hedwig and the Angry Inch, The Bridges of Madison County (Tony Award, Best Score), Annie, The Heiress, Lucky Guy, The Cripple of Inishmaan,The Lion (Drama Desk Award), and this season’s much anticipated original musical, Dear Evan Hansen.

“Stacey is an ideal Whitehead Award winner. She is bold and passionate – developing and producing great new shows for Broadway and beyond while supporting artists across a wide range of experience as well as important theatrical organizations. She’s what a Broadway producer should be,” said Tom Viertel, Executive Director of CTI.

“Stacey Mindich continues the tradition of legendary producers such as Robert Whitehead, for whom this award is named, with her innovation in developing and producing works by both new and established artists,” said Victoria Bailey, TDFs’ Executive Director.

“It’s fitting that the very talented Tony Award-winning producer Stacey Mindich has been named the recipient of the 2016 Robert Whitehead Award,” said Charlotte St. Martin, President of the Broadway League. “Stacey’s dedication to both new and classical productions on our stages makes her an excellent choice to honor Robert Whitehead’s legacy.”

After a critically-acclaimed run at Arena Stage in Washington, DC, Stacey Mindich Productions’ newest project, Dear Evan Hansen, will have its New York premiere at Second Stage Theatre in March. The original musical features a score by the Tony-nominated composing team of Pasek & Paul, a book by Outer Critics Circle Award-winning playwright Steven Levenson and is directed by Rent and Next to Normal’s Tony-nominated Michael Greif. Dear Evan Hansen was born out of a commissioning program at Stacey Mindich Productions that pairs emerging composers with esteemed directors. Believing deeply in the need to premiere new musical works and nurture new voices, Stacey has also funded and enhanced productions for a variety of not-for-profit theaters including Playwrights Horizons (The Dead, Burnt Part Boys, The Shaggs, Far from Heaven and Fly by Night), The Roundabout Theatre Company (Ordinary Days and The Disappearance of Tom Durnin), Williamstown Theatre Festival (an as-of-yet untitled Benjamin Scheuer project) and Second Stage (Quiara Hudes’ Pulitzer Prize-winning Water by the Spoonful and Jason Robert Brown’s beloved The Last Five Years). Stacey has also established The Stacey and Eric Mindich Fund for Musicals at Lincoln Center Theater, to commission new musicals (Women on the Verge, Dogfight) and support stellar revivals such as the Tony Award-winning South Pacific and the Tony Award-winning The King and I.

Stacey is the co-chair of the board at New York City Center, home to the Tony Award-winning Encores series of musical revivals and its newest series, Stacey’s brainchild, Encores: Off-Center. Led by artistic director Jeanine Tesori, Off-Center spotlights off-Broadway revivals interpreted for a new generation. Stacey is a founding board member of the Lilly Awards, where she presents the annual “Go Write a Play Award,” which supports a new work by a female playwright every year. Past recipients include Tanya Barfield, Neena Beeber and Heidi Schreck. She also initiated the “Fund for New Musicals” at the National Alliance for Musical Theater, where she was vice president of the board for many years. Married to Eric Mindich for 20 years, their proudest co-productions are sons Russell, Danny and Charlie.

A joint project of The Broadway League and Theatre Development Fund, CTI was founded in 1981 by the late Frederic B. Vogel. The current executive director, Tom Viertel took on leadership of the program in 2013.

Celebrate the launch of the 2015-2016 CTI season with us! Come join us at Sardi’s for our first networking event of the season. Meet fellow alumni, make connections, and learn about the new CTI Courses!

CTI is throwing another networking event! Join us for a special CTI Alumni Networking Event in celebration of the 69th Annual Tony Awards. Come meet your fellow alumni to discuss upcoming projects and who won on June 7th.